There is a beauty in discovery. There is mathematics in music, a kinship of science and poetry in the description of nature, and exquisite form in a molecule. Attempts to place different disciplines in different camps are revealed as artificial in the face of the unity of knowledge. All literate men are sustained by the philosopher, the historian, the political analyst, the economist, the scientist, the poet, the artisan and the musician. --Glenn T. Seaborg, scientist, Nobel laureate (1912-1999)

(101:2.2) Reason is the method of science; faith is the method of religion; logic is the attempted technique of philosophy. Revelation compensates for the absence of the morontia viewpoint by providing a technique for achieving unity in the comprehension of the reality and relationships of matter and spirit by the mediation of mind. And true revelation never renders science unnatural, religion unreasonable, or philosophy illogical.Read More

The following [excerpted]
statement was made in Spanish to Marius de Zayas. Picasso
approved de Zayas' manuscript before it was translated into
English and published in The Arts (New York, May 1923)
under the title "Picasso Speaks."

Art is a lie that makes us realize truth. -- Pablo Picasso (1881–1973

(2:7.8) The discernment of supreme beauty is the discovery
and integration of reality: The discernment of the divine
goodness in the eternal truth, that is ultimate beauty. Even
the charm of human art consists in the harmony of its unity.

(2:7.11) All truth—material, philosophic, or spiritual—is
both beautiful and good. All real beauty—material art or
spiritual symmetry—is both true and good.

(195:5.2) Truth often becomes confusing and even misleading
when it is dismembered, segregated, isolated, and too much
analyzed. Living truth teaches the truth seeker aright only
when it is embraced in wholeness and as a living spiritual
reality, not as a fact of material science or an inspiration
of intervening art.

(195:7.22) Neither is the universe like the art of the
artist, but rather like the striving, dreaming, aspiring,
and advancing artist who seeks to transcend the world of
material things in an effort to achieve a spiritual goal.

All art is
autobiographical; the pearl is the oyster's
autobiography. --Federico Fellini, film director, and
writer (1920-1993)

(195:7.18) Any scientific interpretation of the material
universe is valueless unless it provides due recognition for
the scientist. No appreciation of art is genuine unless it
accords recognition to the artist. No evaluation of morals
is worth while unless it includes the moralist. No
recognition of philosophy is edifying if it ignores the
philosopher, and religion cannot exist without the real
experience of the religionist who, in and through this very
experience, is seeking to find God and to know him. Likewise
is the universe of universes without significance apart from
the I AM, the infinite God who made it and unceasingly
manages it.

(195:7.22-23) The universe is not like the laws, mechanisms,
and the uniformities which the scientist discovers, and
which he comes to regard as science, but rather like the
curious, thinking, choosing, creative, combining, and
discriminating scientist who thus observes universe
phenomena and classifies the mathematical facts inherent in
the mechanistic phases of the material side of creation.
Neither is the universe like the art of the artist, but
rather like the striving, dreaming, aspiring, and advancing
artist who seeks to transcend the world of material things
in an effort to achieve a spiritual goal.
The scientist, not science, perceives the reality of an
evolving and advancing universe of energy and matter. The
artist, not art, demonstrates the existence of the transient
morontia world intervening between material existence and
spiritual liberty. The religionist, not religion, proves the
existence of the spirit realities and divine values which
are to be encountered in the progress of eternity.

Federico Fellini was an Italian film director and
screenwriter. Known for his distinct style that blends fantasy
and baroque images with earthiness, he is recognized as one of
the most influential filmmakers of all time. Some of his films
are placed in polls such as in Cahiers du cinéma and Sight
& Sound as some of the greatest films of all time,
with his 1963 film 8½ being listed as the 10th greatest
film of all time by Sight & Sound.
In a career spanning almost fifty years, Fellini won the
Palme d'Or for La Dolce Vita, was nominated for twelve Academy
Awards, and directed four motion pictures that won Oscars in
the category of Best Foreign Language Film. In 1993, he was
awarded an honorary Oscar for Lifetime Achievement at the 65th
Annual Academy Awards in Los Angeles.Read More

There is one art
of which man should be master, the art of reflection. --Samuel Taylor Coleridge, poet (1772-1834)

(103:5.5) Human happiness is achieved only when the ego
desire of the self and the altruistic urge of the higher
self (divine spirit) are co-ordinated and reconciled by the
unified will of the integrating and supervising personality.
The mind of evolutionary man is ever confronted with the
intricate problem of refereeing the contest between the
natural expansion of emotional impulses and the moral growth
of unselfish urges predicated on spiritual insight—genuine
religious reflection.

(130:2.7) Will is the deliberate choice of a
self-conscious being which leads to decision-conduct based
on intelligent reflection.

Samuel Taylor Coleridge was an English
poet, literary critic and philosopher who, with his friend
William Wordsworth, was a founder of the Romantic Movement in
England and a member of the Lake Poets. He wrote the poems The
Rime of the Ancient Mariner and Kubla Khan, as
well as the major prose work Biographia Literaria. His
critical work, especially on Shakespeare, was highly
influential, and he helped introduce German idealist
philosophy to English-speaking culture. Coleridge coined many
familiar words and phrases, including suspension of disbelief.
He was a major influence on Emerson and American
transcendentalism.
Throughout his adult life Coleridge had crippling bouts of
anxiety and depression; it has been speculated that he had
bipolar disorder, which had not been defined during his
lifetime. He was physically unhealthy, which may have stemmed
from a bout of rheumatic fever and other childhood illnesses.
He was treated for these conditions with laudanum, which
fostered a lifelong opium addiction.Read More

There
are two kinds of truth: the truth that lights the way and the truth
that warms the heart. The first of these is science, and the second is
art. Neither is independent of the other or more important than the
other. Without art science would be as useless as a pair of high forceps
in the hands of a plumber. Without science art would become a crude
mess of folklore and emotional quackery. The truth of art keeps science
from becoming inhuman, and the truth of science keeps art from becoming
ridiculous. --Raymond Thornton Chandler, writer (1888-1959)

(195:7.16) In a high civilization, art humanizes science, while in turn
it is spiritualized by true religion—insight into spiritual and eternal
values. Art represents the human and time-space evaluation of reality.

(195:7.22-23) The universe is not like the laws, mechanisms, and the
uniformities which the scientist discovers, and which he comes to regard
as science, but rather like the curious, thinking, choosing, creative,
combining, and discriminating scientist who thus observes universe
phenomena and classifies the mathematical facts inherent in the
mechanistic phases of the material side of creation. Neither is the
universe like the art of the artist, but rather like the striving,
dreaming, aspiring, and advancing artist who seeks to transcend the
world of material things in an effort to achieve a spiritual goal.
The scientist, not science, perceives the reality of an evolving and
advancing universe of energy and matter. The artist, not art,
demonstrates the existence of the transient morontia world intervening
between material existence and spiritual liberty.

Raymond Thornton Chandler (July 23, 1888 –
March 26, 1959) was an American novelist and screenwriter. In 1932, at
age forty-four, Chandler decided to become a detective fiction writer
after losing his job as an oil company executive during the Great
Depression. His first short story, "Blackmailers Don't Shoot", was
published in 1933 in Black Mask, a popular pulp magazine. His first novel, The Big Sleep, was
published in 1939. In addition to his short stories, Chandler published
seven novels during his lifetime (an eighth in progress at his death
was completed by Robert B. Parker). All but Playback have been made into
motion pictures, some several times. In the year before he died, he was
elected president of the Mystery Writers of America. He died on March
26, 1959, in La Jolla, California.
Chandler had an immense stylistic influence on American popular
literature, and is considered by many to be a founder, along with
Dashiell Hammett, James M. Cain and other Black Mask writers, of
the hard-boiled school of detective fiction. His protagonist, Philip
Marlowe, along with Hammett's Sam Spade, is considered by some to be
synonymous with "private detective," both having been played on screen
by Humphrey Bogart, whom many considered to be the quintessential
Marlowe.
Some of Chandler's novels are considered important literary works, and three are often considered masterpieces: Farewell, My Lovely (1940), The Little Sister (1949), and The Long Goodbye (1953). The Long Goodbye is praised within an anthology of American crime stories as "arguably the first book since Hammett's The Glass Key,
published more than twenty years earlier, to qualify as a serious and
significant mainstream novel that just happened to possess elements of
mystery".Read More